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FOUR HISTORICAL DEFINITIONS OF ARCHITECTURE by Stephen Parcell School of Archit

FOUR HISTORICAL DEFINITIONS OF ARCHITECTURE by Stephen Parcell School of Architecture McGill University, Montreal July 2007 A thesis submitted to McGill University in partial fulfilment of the requirements of the degree of Doctor of Philosophy © Stephen Parcell, 2007 1+1 Library and Archives Canada Bibliothèque et Archives Canada Published Heritage Bran ch Direction du Patrimoine de l'édition 395 Wellington Street Ottawa ON K1A ON4 Canada 395, rue Wellington Ottawa ON K1A ON4 Canada NOTICE: The author has granted a non- exclusive license allowing Library and Archives Canada to reproduce, publish, archive, preserve, conserve, communicate to the public by telecommunication or on the Internet, loan, distribute and sell theses worldwide, for commercial or non- commercial purposes, in microform, paper, electronic and/or any other formats. The author retains copyright ownership and moral rights in this thesis. 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Contents Abstract ............................................................................................................... vii Acknowledgements .............................................................................................. ix Chapter 1: Departure .......................................................................................... 1 A Musical Preamble ........................................................................................ 1 Musicking ................................................................................................... 1 The lmaginary Museum of Musical Works ................................................. 3 The Modern System of the Arts ................................................................. 6 Four Historical Definitions ............................................................................... 7 Epistemological Classifications ....................................................................... 8 Elements of Practice ..................................................................................... 1 0 Eight Current Conventions ............................................................................ 12 1. Architecture .......................................................................................... 14 2. Designer .............................................................................................. 15 3. Material ................................................................................................ 17 4. Dweller ................................................................................................. 17 5. Builder .................................................................................................. 18 6. Building ................................................................................................ 19 7. Drawing ................................................................................................ 20 8. Architectural Work ................................................................................ 21 Chapter 2: Architecture as a Technë .............................................................. 27 Before Architecture ....................................................................................... 27 1. Abilities ................................................................................................ 28 2. Ancestors ............................................................................................. 33 3. Life force .............................................................................................. 35 4. Patron .................................................................................................. 37 5. Architekton ........................................................................................... 39 6. Construction ......................................................................................... 45 7. Paradeigma ......................................................................................... 4 7 8. Deathless Building ............................................................................... 49 Beyond Technë ............................................................................................. 51 Mousikë ................................................................................................... 51 Mousikë and Building ............................................................................... 53 The Demise of Technë .................................................................................. 55 Chapter 3: Architecture as a Mechanical Art ................................................. 58 Free Crafts and Banausic Crafts ................................................................... 58 Classifications of Crafts ................................................................................. 59 Education in Liberal Arts ............................................................................... 62 Liberal Arts and Vulgar Arts .......................................................................... 64 Medieval Liberal Arts ..................................................................................... 67 Martianus Capella, Boëthius, Cassiodorus .............................................. 67 Medieval Mechanical Arts ............................................................................. 71 Philostratus, Augustine, Isidore of Seville ................................................ 71 iii Johannes Scotus Eriugena ...................................................................... 73 Definition of Mechanical Arts ................................................................... 76 Hugh of St. Victor .......................................................................................... 80 Didasca/icon ............................................................................................ 80 Hierarchy and Ascension ......................................................................... 83 Defining the Mechanical Arts ................................................................... 85 The Se ven Mechanical Arts ..................................................................... 89 Armament and Architecture ..................................................................... 92 The Mechanical Arts in Context ............................................................... 94 Architectural Interpretations of Didasca/icon ................................................. 96 1. Arma ment ............................................................................................ 97 2. lnventor ................................................................................................ 99 3. Nature ................................................................................................ 1 03 4. Body ................................................................................................... 106 5. Artisan ................................................................................................ 108 6. Shelter ............................................................................................... 111 7. Model ................................................................................................. 113 8. Ark ..................................................................................................... 114 Beyond the Mechanical Arts ........................................................................ 117 Limits of the Mechanical Arts ................................................................. 117 Contemplation ........................................................................................ 119 Five Ways to Engage the World ............................................................ 124 Subjects for Contemplation .................................................................... 126 God as an Architect ............................................................................... 130 Architecture as a Contemplative Art ....................................................... 133 Mechanical Arts after Hugh of St. Victor ...................................................... 135 Relation to Liberal Arts ................................................................................ 139 Chapter 4: Architecture as an Art of Disegno .............................................. 143 Arti del Disegno ........................................................................................... 143 Painting and Sculpture Before Disegno ...................................................... 14 7 Fourteenth Century ..................................................................................... 149 Humanism .............................................................................................. 149 Eloquence and Poetry ............................................................................ 152 Poetry and Painting ................................................................................ 155 Imitation ................................................................................................. 158 Painting and Sculpture ........................................................................... 160 Guilds ..................................................................................................... 161 Fifteenth Century ......................................................................................... 163 Cennino Cennini .................................................................................... 163 Lorenzo Valla ......................................................................................... 166 Leon Battista Alberti ............................................................................... 167 Three Treatises by Alberti ........................................................................... 168 On Painting: References to Sculpture and Architecture ......................... 169 On Sculpture: References to Painting and Architecture ......................... 175 r 1 On the Art of Building: References to Painting and Sculpture .............. :. 177 Disegno in Della pittura .......................................................................... 179 iv Lineamentum and Disegno .................................................................... 181 Architectural Interpretation of De re aedificatoria, Book 1 ........................... 183 1. Edification .......................................................................................... 183 2. lmitator ............................................................................................... 187 3. Natural Forces ................................................................................... 191 4. Citizen ........................................................ : ....................................... 193 5. Builder ................................................................................................ 195 6. Composition ....................................................................................... 197 7. Mind's Eye ......................................................................................... 199 8. Lineaments ........................................................................................ 200 Renegotiating the Liberal Arts ..................................................................... 204 Angelo Poliziano .................................................................................... 207 Leonardo da Vinci .................................................................................. 209 Benedetto Varchi ................................................................................... 219 Giorgio Vasari ............................................................................................. 224 The Lives ............................................................................................... 224 Accademia del Disegno ......................................................................... 229 Architecture in the Accademia del Disegno ........................................... 234 Chapter 5: Architecture as a Fine Art ........................................................... 245 Beaux, Polite, and Fine ............................................................................... 24 7 Fine Arts and Architecture in La te Seventeenth Century ............................ 248 Charles Perrault ..................................................................................... 248 Fine Arts and Architecture in Early Eighteenth Century .............................. 253 Joseph Addison ..................................................................................... 253 Architecture in the Margins .................................................................... 259 Alexander Baumgarten .......................................................................... 261 Charles Batteux ..................................................................................... 263 Encyclopédie ......................................................................................... 266 Abbé Laugier ......................................................................................... 281 Common Grounds for the Fine Arts ............................................................ 288 A Secondary Wave in the La te Eighteenth Century .................................... 292 The Rise of Instrumental Music ............................................................. 294 The Sublime in Painting and Poetry ....................................................... 301 Étienne-Louis Boullée ................................................................................. 303 Architectural Interpretation of Essai sur l'art ................................................ 305 1. Sensations ......................................................................................... 305 2. Translator ........................................................................................... 310 3. Resource ........................................................................................... 312 4. Beholder ............................................................................................ 315 5. Builder ................................................................................................ 318 6. Monument. ......................................................................................... 319 7. Impression ......................................................................................... 321 8. Heterocosm ....................................................................................... 322 Aesthetic Perception ................................................................................... 323 Heterocosmic Fiction ............................................................................. 323 Disinterested Contemplation .................................................................. 326 v Disinterested Contemplation of Architecture .......................................... 328 Institutions for the Fine Arts ................................................................... 332 Institutions for Architecture as a Fine Art ............................................... 334 Limits of Architecture as a Fine Art ........................................................ 337 Religious Parallels ....................................................................................... 338 Religion in the Secondary Wave ............................................................ 338 Faith in the Fine Arts .............................................................................. 343 Chapter 6: Return ........................................................................................... 348 Epistemological Classifications ................................................................... 348 Elements of Practice ................................................................................... 352 Potential for Further Study .......................................................................... 353 Bibliography ...................................................................................................... 357 vi Abstract The dissertation examines four historical definitions of Western architecture: architecture as a technë in ancient Greece, as a mechanical art in the Middle Ages, as an art of disegno in Renaissance ltaly, and as a fine art in the eighteenth century. These definitions situated architecture within larger classifications of knowledge. They established alliances between architecture and other disciplines. They also influenced elements of architectural practice: what we would associate conventionally with the designer, builder, dweller, material, drawing, and building. The dissertation reviews writings in each historical period and focuses on the practical implications of several texts: Hugh of St. Victor, Didascalicon; Leon Battista Alberti, De re aedificatoria, Book 1; and Étienne-Louis Boullée, Essai sur l'art. As a series, the four historical definitions show how the concept of architecture and the elements of architectural practice have been open to change. Even the word "architecture" has ambiguous roots. Cette dissertation examine quatre définitions historiques de l'architecture occidentale: l'architecture comme technë dans la Grèce antique; comme art mécanique au Moyen Âge; comme arte del disegno en Italie à la Renaissance; et comme faisant partie des beaux-arts au dix-huitième siècle. Ces définitions situaient l'architecture dans des classifications plus vastes de la connaissance. Elles établissaient des alliances entre l'architecture et d'autres disciplines. Elles influaient également des éléments de la pratique architecturale: ce que nous associons par convention au concepteur, au constructeur, à l'habitant, au matériel, au dessin, et au bâtiment. Dans cette dissertation, nous étudierons des écrits provenant de chaque période historique et soulignerons les implications pratiques de plusieurs de ces textes tels le Didascalicon de Hugh de Saint-Victor, le De re aedificatoria, livre 1 de Leon Battista Alberti, et /'Essai sur l'art d'Étienne- Louis Boullée. L'analyse des quatre définitions historiques considérées comme une série indique que le concept d'architecture et les éléments de la pratique vii architecturale ont subi de nombreux changements. Le mot «architecture» lui- . même a une origine contestable. viii Acknowledgements Many thanks to my superviser, Alberto Pérez-G6mez, not only for his guidance and inspiration for the dissertation, but also for the generous academie setting he has provided for myself and other devotees of architectural history and theory at McGill University for the past twenty years. 1 a Iso wish to thank my advisors, uploads/Ingenierie_Lourd/ nr-38625.pdf